Issues : Accompaniment changes

b. 1

composition: Op. 24 No. 3, Mazurka in A♭ major

The L.H. part in AI

A (→GEFEEE)

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 1-8

composition: Op. 10 No 2, Etude in A minor

Semiquavers in CLI & FE (→GE,EE

Crotchets in Ap

..

The crotchets in bars 1-2 and 5-8 constitute a significant change of the concept in Ap in the scope of the Etude's technical problems and its sound image (cf. the characteristic of Ap). As the version does not appear in any of the sources related to the publication of the piece – neither in CLI nor in FE (→GE,EE) – it seems that the prolonged articulation of the accompanying two-note chords appeared only as a transitional phase in the shaping process of the Etude's text or – which, according to us, is more plausible – as a one-time exclusive idea. See also the remark concerning bars 3-4.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 1

composition: Op. 25 No 1, Etude in A♭ major

A in AI

A1 in A (→CDP,GE), FE & EE

..

A greater schematic approach is generally characteristic for original versions, in this case AI. Lowering some bass notes or doubling them during the works on a piece is characteristic for Chopin – cf., e.g., the Etude in D major, No. 8, bars 25-26Etude in D major, Dbop. 36 No. 3, bars 55-59, Waltz in A major, Op. 42, bar 31 and 273, Polonaise in E minor, Op. 26 No. 2, bars 103-104

See also the note to bar 36.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 1

composition: Op. 25 No 8, Etude in D♭ major

a-ein A (→GE) & FE

g-ein EE

..

In A the bottom note of the 4th quaver was corrected by Chopin from g to a (similarly in bars 2, 5, 6 and 22). In the 1st bar, the result of this correction is not that obvious, at the first sight, and the version of EE proves that probably the copyist preparing the base text for this edition misinterpreted Chopin's intention.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Accompaniment changes

b. 1-2

composition: Op. 64 No 2, Waltz in C♯ minor

c & d in As & AI

C & D in A & FE (→GE,EE)

..

In As and AI the bass notes in bars 1-2 are written an octave higher than in the version prepared for print (in A one can see traces of corrections from c to C in bar 1). Lowering bass is one of frequently used interventions by Chopin at the time of elaborating original ideas – cf. bars 14, 32, 39 and 55, 65 and 81, as well as, e.g., the Waltz in D major, No. 1, bars 50 and 77.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes , Bass register changes